text: Inglourious Basterds -- Film Review 3:58 AM PDT 5/20/2009 by Kirk Honeycutt , AP FACEBOOK TWITTER EMAIL ME More Cannes reviews CANNES -- History will not repeat itself for Quentin Tarantino. While his "Pulp Fiction" arrived late at the Festival de Cannes and swept away the Palme d'Or in 1994, his World War II action movie "Inglourious Basterds" merely continues the string of disappointments in this year's Competition. The film is by no means terrible -- its two hours and 32 minutes running time races by -- but those things we think of as being Tarantino-esque, the long stretches of wickedly funny dialogue, the humor in the violence and outsized characters strutting across the screen, are largely missing. Boxoffice expectations for this co-production that will see the Weinstein Co. handling domestic and Universal handling international distribution still will be considerable, but there isn't much of a chance of the kind of repeat business Tarantino normally attracts. The film borrows its title but little else from Enzo Castellari's 1978 WWII film. In Tarantino's version, a small group of Jewish-American soldiers under the command of Brad Pitt's Aldo Raine terrorizes Nazi soldiers in Occupied France, performing shocking acts of savagery and corpse mutilations. How close they come to war crimes is unclear because, in a very un-Tarantino manner, he shows little more than a few scalpings that earn Aldo the nickname "Apache" from the Germans and one execution by a baseball bat. As a matter of fact, for a war movie there is very little action. People talk, soldiers scheme and a German war hero pesters a French woman in Paris. Otherwise, the action comes in short bursts such as the machine-gunning of a hiding Jewish family through a farmhouse floorboards and a shootout in a bistro. Reportedly, Tarantino has been having a go at this script for more than a decade, and it looks like he never licked the dramatic problems. The "Basterds" are formed in 1941, then suddenly it's 1944 and they have firmly established their reputation. But only one scene gives the flavor of what they do to deserve it. Unlike Tarantino's previous films, "Basterds" does not build to a climax through a series of ingenuous episodes -- each one upping the stakes and the tension -- but rather it rolls the dice on one major operation. The head of Germany's film business, Joseph Goebbels, wants to hold the premiere of a movie celebrating the exploits of the army's finest sharpshooter, Fredrick Zoller (Daniel Bruhl), in Paris. All the top Nazi brass will be in attendance, including Hitler. A British lieutenant (Michael Fassbender) parachutes behind enemy lines to organize the Basterds to blow up the cinema. Unbeknown to the Allies, however, the cinema's owner, Shosanna (Melanie Laurent), a Jew who seeks revenge for the execution of her family, has the same general idea, only she wants to lock the doors and set the theater on fire. Best of all for her, the head of security for the event is none other than the villainous Nazi Colonel Hans Landa (Christoph Waltz), who killed her family. The maneuvering by both groups -- the Basterds and Shosanna and her lover-assistant Marcel (Jacky Ido), with the Germans always seeming to be one step away from discovering the schemes -- occupies most of the movie leading up to the premiere. Then Tarantino rewrites the end of WWII. There are a few moments of classic Tarantino tension in the farmhouse when Colonel Landa interrogates the French farmer hiding a Jewish family, in the bistro where an SS officer grows suspicious of a Basterd's German accent and at the premiere, where Landa appears to uncover one of the plots. Otherwise the film lacks not only tension but those juicy sequences where actors deliver lines loaded with subtext and characters drip menace with icy wit. Tarantino never finds a way to introduce his vivid sense of pulp fiction within the context of a war movie. He is not kidding B movies as he was with "Grindhouse" nor riffing on cinema as with "Pulp Fiction" and the "Kill Bill" films. Tarantino has been quoted as saying of "Inglourious Basterds," "This ain't your daddy's World War II movie." In fact, it pretty much is. His scalp-hunters are any Dirty Dozen on a mission, the bread and butter of war movies. The major difference is that some fine European actors simply aren't given enough to do. Diane Kruger's role as a German movie star is close to being unnecessary. Bruhl does have a key role as the war hero who plays himself in a German propaganda movie, but Til Schweiger is little more than a dress extra. On the other hand, Tarantino can waste time on a scene back in England, where the British officer receives his orders, simply for the opportunity to get Mike Myers into makeup and prosthetics that make him unrecognizable. Even Pitt, sporting a somewhat overdone Southern accent, and Laurent, the film's two leads, don't get a chance to explore their characters in any depth. They are who they are the minute they appear onscreen, and nothing much changes through the film. In fact, in your daddy's war movies, men and women often did undergo interesting transformations. So perhaps Tarantino is right. Festival de Cannes -- Competition Sales: Universal Pictures InternationalProduction companies: The Weinstein Co. and Universal Pictures present a Zehnte Babelsberg Film/A Band Apart Films productionCast: Brad Pitt, Melanie Laurent, Christoph, Daniel Bruhl, Til Schweiger, Eli Roth, Michael Fassbender, Diane Kruger.Director-screenwriter: Quentin TarantinoProducer: Lawrence BenderExecutive producers: Lloyd Phillips, Erica Steinberg, Bob Weinstein, Harvey WeinsteinDirector of photography: Robert RichardsonProduction designer: David WascoCostume designer: Anna B. SheppardEditor: Sally Menke No rating, 152 minutes FACEBOOK TWITTER EMAIL ME Kirk Honeycutt firstname.lastname@example.com @thr AP firstname.lastname@example.com @thr


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There's often an astounding disparity between how you think customers feel about your products and services and how they actually do feel. Operational data (O) – like costs, revenues, and sales – show what is happening in your business. But you also need experience data (X) to understand the feelings of the people involved and why things are happening. SAP Experience Management solutions combine X-data and O-data. By collecting experience data at every meaningful touchpoint, you can analyse and understand experience gaps – and determine what to do about them. Your company can then automate actions across business functions to drive improvement in customer, employee, product, and brand experiences.
Experience Management is here
Understand how your customers and employees are feeling – and deliver better and more personalised experiences that make them happy with SAP Experience Management solutions.
The future of business has feelings
Want to learn more?
The Total Economic Impact of Experience Management with Qualtrics, an SAP company
The trend is clear: We live in an experience economy. The winners and losers of the future will be determined by the experiences they provide. Technology is making it easier than ever for organisations to manage the experiences with their customers, employees, products, and brand.
The Forrester Wave on Digital Experience Platforms
Find out why Forrester recognized SAP as a Leader in Digital Experience Platforms.
Lead the Human Revolution
Find out how you can put your people first and drive better business results with SAP SuccessFactors.
Experience Management in action
Delivering better faculty and student experiences
Tecnológico de Monterrey is a large university system with 26 campuses in Mexico. Learn how they're using SAP to improve the employee experience and give faculty opportunities to grow – so they can in turn offer better educational experiences to students.
Improving a neighborhood, one experience at a time
See how we helped improve the experiences of downtown Manhattanites for a day, from turning a parking lot into a flower garden to setting up a sidewalk commuter lounge. With SAP Experience Management, you can understand what people really want – and give it to them.
Support employees at work and in life
Great employee experiences aren't just about free food and ping pong tables. They're about supporting your people in moments that actually matter – in both work and life. By combining X and O data, you can predict and prevent burnout, make individuals feel valued, and more.
Proactively meet customer needs
It's never been easier for customers to determine which companies provide stand-out experiences – and which don't. By combining X and O data, you can deliver the stellar, personalised experiences that get rave reviews and grow your business.
Create a people-centric spend process
Connect your X and O data so that you gain the insight you need to meet employee needs and deliver on customers' ever-changing requirements.
Give customers what they want – now
People have more choice than ever. By connecting X and O data, you can run a smart digital supply chain that provides the individual delivery, service, and product experiences people crave.

subset: commoncrawl


text:
Northern California 55 Plus Retirement Communities and Retirement Homes
55+ Communities also called 55 Plus Communities are active retirement communities and developments cater to active adult retirement living. These types of communities really offer anything and everything for an active retirement lifestyle. You will find upscale golf course homes as well as quite city living surrounded by like minded neighbors. Amenities often include swimming pools, Pickle Ball, Shuffleboard, Tennis Courts, Clubhouses with community kitchens, championship golf courses and everything else you can think of in a gated retirement resort type environment. That being said, many 55+ communities also offer a quiet more reserved type living for those residents that appreciate a slower pace lifestyle. Almost all have community centers or clubhouses that feature many community activities. Almost all have pets allowed policies. About the only thing you don't find in 55+ communities are a lot of children, which can visit but cannot reside full time in most communities.
Easy CompareCompare
Browse cities within Northern California
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Jul 23, 2009 (CIDRAP News) - The World Health Organization (WHO) recently posted surveillance and status updates for regions where the pandemic H1N1 is just gaining a foothold, including the Mideast, Africa, and parts of Asia and the Pacific, which showed Southeast Asia as the hardest hit of those areas.
Most public health experts say the number of lab-confirmed H1N1 cases greatly underestimates the true burden of the disease, and the WHO on Jul 16 discontinued its global case counts, saying the updates were becoming less useful as a surveillance tool and that reporting all of the confirmed cases was placing a great burden on countries experiencing widespread transmission. However, it said it would provide regular updates on the spread of pandemic flu in newly affected countries.
In the Mideastern locations included in the WHO's Eastern Mediterranean region, 890 lab-confirmed cases have so far been reported in 19 countries, according to an update posted yesterday on the WHO's regional Website. The WHO said 257 cases were locally transmitted. Egypt is the only country in the region that has reported a death from the novel H1N1 virus.
Saudi Arabia has the most cases in the Mideast, 232, followed by Egypt with 157, Lebanon with 79, and Palestine with 78. The only countries in the region that have not reported a confirmed case so far are Pakistan and Somalia.
Meanwhile, 12 of the 46 countries included in the WHO's Africa region have reported 174 lab-confirmed cases with no deaths, the WHO reported on Jul 21. South Africa has reported the most cases, 119, followed by Kenya with 22. The WHO said it has activated regional and sub regional crisis management teams and that stockpiles of pandemic medications have been dispatched to all of the countries.
In Southeast Asia, 5,684 lab-confirmed novel H1N1 cases have been reported in 7 of 11 countries included in the WHO's Southeast Asia region, according to a Jul 20 update. Thailand leads with 5,120 cases, followed by India (308) and Indonesia (172). All of the region's deaths have been reported from Thailand, which has linked 32 fatalities to the virus. So far, four countries in the region have not reported any confirmed cases: Bhutan, North Korea, Maldives, and Timor-Leste.
Meanwhile, the WHO's Western Pacific regional office said on Jul 21 that the pandemic H1N1 influenza is now dominant in Singapore and Taiwan. Health officials in Taiwan report the novel H1N1 now accounts for 88% of all circulating flu strains, and officials in Singapore report that the new virus makes up 53% of all reported flu cases.
Two of the 37 jurisdictions covered in the WHO's Western Pacific region have reported their first novel H1N1–related deaths: Guam and Tonga. Fifty-five deaths from the virus have been reported from the region, most of which are from Australia.
In related news, the WHO warned yesterday that the pandemic H1N1 virus is a threat to patients with immunosuppressive diseases such as HIV/AIDS, which it said is a particular concern for Western Pacific countries, in which people suffering from the diseases have less access to antiretroviral therapy than those in other parts of the world. The WHO recommended that country pandemic preparedness plans address the needs of people living with HIV/AIDS.
See also:
Jul 21 WHO Africa region pandemic H1N1 update
Jul 22 WHO Western Pacific region statement on people living with HIV/AIDS


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OK. Let's talk frames…. No, wait! Where are you going? Come back! Perhaps I should've been a little more subtle. Chatted about the weather, or maybe the Green Bay Packers.
Instead, I came right out and used the "f" word. I understand your reluctance. Everybody, it seems, is sick of frames — including the W3C and other advocates of web standards. But frames still have a place in this world. So you just sit back and let me finish.
"So," I say, "I've got these killer frames…."
"Sure, whatever," you reply.
I look at you coyly. "But these frames, man … these frames, they float."
Intrigued, you turn around and smile. "They float, huh? Tell me more."
And I will. But first, for those who came in late:There's a possibility that you missed Jill Atkinson's treatise on frames — Create Simple HTML Frames — their structure, usage and relation to the four food groups. I don't know, maybe you were sick that day, had to take the dog to the vet, whatever. Point being, you might be unaware of how frames work. So for those of you thus afflicted, I'd recommend that you take a peek at Jill's piece, and I'll also tell you this:Frames are used to "separate, contain, and present" content.
Everyone up to speed? Let's go.
IFRAME, I Saw, I Conquered
Frames, when used sensibly, can be a great tool for presenting a complex site. Unfortunately, they've always been sort of boxy and constraining, doomed as they are to dwell in and along the corners of a browser. But all that changed with the introduction of the inline frame, or iframe for short.
The iframe made its debut way back when Microsoft released Internet Explorer 3.0. For a while, they only existed on Intranets and Microsoft-optimized sites. Now that they are fully supported by all subsequent Microsoft browsers, Firefox, Safari and Opera (to name the biggies), iframes are commonplace in the real world.
What's so special about iframes again? Ah, yes, the floating thing. An iframe isn't bound to the side of a browser window. No way. Just like an image, a floating frame can sit anywhere on the page. It goes where it wants to go and calls in what it wants to call in. In every sense, a liberated frame for the new millennium.
Think of your website as a stack of magazines. Although it's interesting to look at, and no doubt chock-full of hard-hitting, compelling content, some people will never know this because all they see is what's at the very top. The only way for users to get at the rest of the content is to dig into the stack one page at a time.
Now imagine if you could give your viewers a magic mirror like the one Miss Cindy had on Romper Room – you know, the one she used to see you through the TV? Well, with this mirror, your readers could see what's in the center of the pile, um, I mean your website. No more clicking and reloading, and clicking and reloading, and clicking and reloading to dredge up information. So you see, floating frames are magic – just like Miss Cindy's mirror.
OK, not magic, exactly. Let's look at how they really work.
Look Ma, They Float
You may remember that in normal frames pages, the <frameset> </frameset> tags define how the page should be divided. These tags replace or precede the  tag, and look something like this (each "?" would define the size and number of columns):
<frameset cols="?,?">
Then the <frame> tag is used to describe each frame and pull in the HTML source document. It looks something like this:
<frame src="blah.html" name="blah">
Now, iframes are obviously a little different than your run-of-the-mill frame. First of all, they're defined entirely by the  tag, which fulfills the functions of both the <frame> and <frameset> tags. Second, the  tag can be placed directly inside the   tags, like an image. (In fact, the  tag can define some iframe attributes, but I'll get to that later.)
Let's start off by defining the size of your iframe. The  tag can define the width and height using pixel values:

Or percentages:

Keep in mind that percentages will scale to accommodate the space available on the user's monitor, while pixels are more restrictive and less responsive to the individual needs of a user. What's perfect on a laptop screen may be far too small for a 21-inch workstation monitor, and vice versa.
Also, note that I've added the  tag after every . This is necessary because it closes the floating frame.
Looks like to me like we're off to a good start. But as my grandma used to tell me, "Son, if you ain't got content, you ain't got diddly." Never being a fan of diddly, that never really bothered me. But in retrospect, the old girl had a point. Without content, you kinda just got yourself a blank page.
So next we'll learn how to give the iframe some guts.
Loading and Positioning Content
Lucky for us, the  tag behaves just how we need it to — by assigning an HTML source document, we can fill the floating frame with whatever we deem proper. An iframe loads an HTML document onto the page the same way one would call up an image. It works like this:

Our floating frame will now display whatever's included in blah.html.
Right about now, you're probably asking yourself, "Yeah, that's nice, but how in the heck do I 'float' the darn thing into the position I want?" Good question. After all, things that "float" aren't usually all that stable.
Well, again, we need to think of the  tag in terms of the  tag. A floating frame will show up wherever you place it in the content of the page:If you stick the tag halfway down your HTML document, the iframe will show up halfway down your web page. Unlike regular frames, floating frames aren't persistent. They will scroll up and down (and off) the page, just like the rest of the content.
If you want your frame to line up against either side of the browser window, you just need to place an align="left" or align="right" within the  tag, like so:

Now we have an inline frame that's 150 pixels wide, 200 pixels tall, and aligned left.
Of course, if you want to actually float the frame above other elements within the page, you could use absolute positioning, a floating
 layer, and stylesheet declarations to put the content anywhere you desire. That's the beauty of iframes and DHTML.
Using a div, your basic code looks like this:

And your CSS positioning code looks like this:

Here's an example where I've used absolute positioning to float an iframe over a picture. Feel free to study and admire it.
Once you're familiar with the basics, you're ready to tackle the frameborder and various margin attributes.
Defining Borders and Margins
Floating frames have borders by default — unless you instruct the browser to do otherwise, it will place a border around your frame. But you can alter border thickness by invoking the almighty frameborder attribute, which is defined in terms of pixels.

So this floating frame would have a border 10 pixels thick. But if you set the frameborder to, say, zero, your frame border becomes virtually invisible.

Think about that for a minute. If you have a frame with an invisible border smack dab in the middle of your content, how can you tell the difference between the content outside the frame and the content inside the frame? The answer is:You can't.
Unless you want to alienate your users or create an digital art installation liberated from all sensible convention, you need to find some way of addressing this problem. One way to differentiate the iframe content is to use smart design techniques. For example, a slightly different background color in your blah.html document will make the iframe stand out from the rest of the page. Or you could try using a different font color or size. You can also set the content apart by surrounding it with a distinct margin.
There are two kinds of margins you can set. The external margin is the space that surrounds the frame. It's set using the hspace and vspace attributes, which set the horizontal (left/right) and vertical (top/bottom) margins, respectively:

Internal margins are quite different because they're set, oddly enough, in the  tag of your document. Using the topmargin and the leftmargin attributes of the  tag, you can offset the internal margin of your frame window, like so:

Starting from the top left, your document's content will now sit ten pixels down and five pixels over from the corner of the frame. Even if you don't plan to offset the internal margins, it's a good idea to define these attributes in the  tag anyway. You can do this by setting both values to zero. If you find your content is too long to fit comfortably within your frame, you can summon a scrollbar:

Of course, you can also turn off the scrollbar (by setting it to scrolling="no") or just let the browser decide for itself when the scrollbar is necessary (by setting it to scrolling="auto").
Now all you have to do is name the elements and make the thing actually work.
I Think I'll Name it Fred
Targeting within the  tag works exactly like it would in a typical <frame> tag (see Jill's column on naming and targeting for a fuller explanation – Put Links in Framesets. In order to send a new page to the floating frame window, you have to give your frame a name:

Now that your frame has a name, you can address (or target) it whenever you want to send it new content. So you can place a link on your page that looks like this:
Gimme!
When you follow that link, it will send the contents of yackitysmackity.html to your floating iframe named fred.
Antiquated Browsers
So now you've got a really cool floating iframe that you can see with any modern browser. But what do people with older browsers see? Not much.
Older versions of Netscape Navigator don't recognize the  tag. In fact, release 4.7 completely ignores it. You could repay the favor and just ignore them back, but if you prefer to be a good netizen and maintain total backwards compatibility, there's a trick.
Well, the other iframe tutorials I've seen suggest you include a <frame> tag between  and  tags. Like this:
 <frame src="blahblah.html">
But I'm more than a little bit skeptical about this solution since I've yet to see it work on every single browser out there.
Of course, the smart thing to do would be to set up a server-side browser detection script that serves pages with iframes to the newer browsers and boring vanilla pages to the older browsers. (See Detect Which Browsers Are Visiting Your Site)
The choice, as always, is yours.Go Back to Top. Skip To: Start of Article.


text:
Does anyone know why I am kicked out immediately after everytime I log in? Here is the output:
$ ssh firstname.lastname@example.com
Linux xxxx 2.6.32-24-server #43-Ubuntu SMP Thu Sep 16 16:05:42 UTC 2010 x86_64 GNU/Linux Ubuntu 10.04.1 LTS
Welcome to the Ubuntu Server!
- Documentation: http://www.ubuntu.com/server/doc
You have mail.
Last login: Fri Oct 1 10:24:01 2010 from xxxx.xxx.xxx
You are not authorized to log into this server
Connection to xxxx.xxx.xxx.xxx closed.
If I am indeed not authorized to log into this server, why I receive the typical information upon logging in, such as the information about the server, the welcome message and the last time I logged in?
How can I solve this problem?
Thanks and regards!


text:
Fat Boy's @ Publika
>> Monday, March 4, 2013
I've been missing-in-action since my last post! Work is as usual busy (getting busier!) & I've also been occupied with other commitments. I've loads of blog posts coming up, so look out for more food-news! :D
Overall comment: Yummilicious burgers...considerably affordable/worth-eating as well! You'll find my final verdict below ;)
Halal: No
Burger joints have been mushrooming in Klang Valley. Fat Boy's have been around for slightly over a year (since last Feb 2012), but I've never tried it 'til last week. I need to be more adventurous with food! - - meaning I will need to save up more cash to spend a little bit more as well :S
My verdict: I prefer Fat Boy's for their variety & the availability of pork burgers, but I also enjoy Burgerlab's juicy beef/chicken burgers WITH portobello mushrooms! Of course, if I were to compare prices, I think it's more "economical" to go for Fat Boy's instead of Bugerlab :) Don't put roadside/Ramli burgers into this equation yea? :P
Fat Boy's Burgers
Lot 30 Level G2 Publika
1, Jalan Dutamas 1
Solaris Dutamas
50480 Kuala Lumpur
Tel: (+603) 6206 1352
Business hours: Opens daily from 11:00a.m. - 11:00p.m. (12:00a.m on Fri & Sat)
Email: firstname.lastname@example.com
URL: http://www.fatboys.my
FB: Fat Boy's
Presentation: * * * *
Price: * * * 1/2
Environment: * * * *
Taste: * * * *
Service: * * * 1/2
I can't resist pork burgers!


text:
Vatican Conference Will Discuss How Blessed John Paul II Helped the Sick
President of the Pontifical Council for Health Care Workers: 'We have to give testimony to his life and suffering so that people can know the good that John Paul II did for sick people.'
VATICAN CITY (EWTN News/CNA)—The life, death and legacy of Blessed Pope John Paul II will take center stage at an international conference for health-care workers that begins Nov. 24 in Rome.
"We really hope this great Pope, great in life, great in suffering, great in death, will, even after his death, live on in our hearts," said Archbishop Zygmunt Zimowski, president of the Pontifical Council for Health Care Workers, in remarks to EWTN News.
"Because there is a new generation who only know him through books and through pictures," Archbishop Zimowski explained, "we have to give testimony to his life and suffering so that people can know the good that John Paul II did for sick people."
The conference has the theme "Health Pastoral Care, Serving Life in the Light of the Magisterium of Blessed John Paul II" and will run from Nov. 24 to 26.
Blessed John Paul established the World Day of the Sick and the Good Samaritan Foundation, which he created in 2004 to provide financial support for poor people who are sick, particularly those suffering from HIV and AIDS.
Archbishop Zimowski recalled how at the beatification ceremony for Blessed John Paul, Pope Benedict described his predecessor as "'a rock' because he was close to Jesus, but he was also 'a rock' in his illness and his sickness."
A Pole himself, Archbishop Zimowski got to know Pope John Paul over many years, beginning while he was still at the seminary in 1967. After that, he regularly met the future Pope, then Cardinal Wojtyla, every fortnight at the University of Lublin. He and other students had breakfast with him or dinner, Archbishop Zimowski said, calling it a "very great privilege and pleasure to meet him."
John Paul made such an impact on the archbishop that he now keeps a reliquary containing a fragment of cloth stained with the late Pope's blood in the chapel of the pontifical council. It was given to the council by Cardinal Stanislaw Dziwisz, private secretary to Pope John Paul.
This week's conference will hear various lectures and testimonies on the life and teaching of Pope John Paul II, with a special emphasis on the Christian value of suffering and his encyclical Evangelium Vitae (Gospel of Life).
Contributions will come from a range of speakers, including Cardinal Dziwisz and Cardinal Fiorenzo Angelini, president emeritus of the health-care council.
The conference will be attended by nearly 700 participants from 70 countries, among whom will be six ambassadors to the Holy See.
On Friday, Nov. 25, attendees will hear a classical concert in the presence of Pope Benedict entitled "The Cross, Mercy and Glory." The proceeds of the concert will be given to the Good Samaritan Foundation.
"These three categories, presenting the cross, the mercy of God, and his glory, is actually the life of our Lord Jesus Christ. Because suffering is not an end in itself, but it is elevated when it is united with the suffering of Christ on the cross," Msgr. Charles Namugera from the health-care council told EWTN News. "And the suffering of Christ, what it shows to the world, is the love of God, the mercy of God. And it eventually elevates the suffering people to the glory of the risen Lord."


text:
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EOS Rebel T3i EF-S 18-55mm f/3.5-5.6 IS II Lens Kit
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The REBEL on the Move.
Photographers looking for an easy-to-use camera that will help them create their next masterpiece need look no further than the Canon EOS Rebel T3i. The next in a long line of phenomenal compact DSLRs, the EOS Rebel T3i continues the Rebel tradition of easy operation, compact design and no-compromise performance. Featuring Canon's newest DIGIC 4 Image Processor and an 18.0 Megapixel CMOS Image Sensor - plus cutting-edge technologies like Full HD video recording, Live View shooting, Wireless flash photography and even a Vari-angle 3.0-inch LCD monitor - the EOS Rebel T3i offers the best of EOS photography in a compact package.
The EOS Rebel T3i has an 18.0 Megapixel CMOS (Complementary Metal Oxide Semiconductor) sensor that captures images with exceptional clarity and tonal range and offers more than enough resolution for big enlargements or crops. This first-class sensor features many of the same new technologies as used by professional Canon cameras to maximize each pixel's light-gathering efficiency. Its APS-C size sensor creates an effective 1.6x field of view (compared to 35mm format).
DIGIC 4 Image Processor
The Canon DIGIC 4 Image Processor dramatically speeds up the entire EOS Rebel T3i DSLR's camera operations for intuitive operation and offers improvements in both fine detail and natural color reproduction. It works in concert with the EOS Rebel T3i DSLR's CMOS Image Sensor to achieve phenomenal levels of performance in nearly any situation.
Amazing Results, No Matter the Light.
The EOS Rebel T3i features an expanded ISO range that makes shooting possible in situations previously unthinkable without flash. With an ISO rating up to 6400 (expandable to ISO 12800), along with the DIGIC 4 Image Processor's improved noise-reduction technology, creative possibilities abound. Combine the EOS Rebel T3i with one of Canon's EF or EF-S lenses with Optical Image Stabilizer and the shooting possibilities for both movies and stills expand even further.
HD Dreams Come True.
The EOS Rebel T3i does not just shoot video clips, it offers the enhanced ease-of-use, image quality, smooth frame rates and adaptive exposure compensation necessary in a professional video-making tool by boasting the most advanced EOS video capturing features to date: When Full HD (1920 x 1080) is set, you can use Movie Digital Zoom to magnify the center of the image by 3-10x while at the same time maintaining gorgeous Canon Full HD image quality. With the Video Snapshot feature, the EOS Rebel T3i DSLR will capture short video clips (of 2, 4 or 8 seconds) then combine them automatically into one video file as a snapshot or highlights "album." With no editing needed after shooting, the compiled video is perfect for sharing online or displaying directly on an HDTV via the camera's HDMI port.
Low Angles or High, a Big Vari-angle LCD Captures All the Details.
The EOS Rebel T3i features a bright, high resolution, flip-out Vari-angle 3.0-inch Clear View LCD monitor for shooting at a variety of angles. By simply rotating the monitor, you can hold the camera directly overhead for above-the-crowd shots at concerts, or hold the camera at a low angle for kids and pets. By rotating the LCD monitor fully, the EOS Rebel T3i becomes the ideal camera for self-portraits. The EOS Rebel T3i freely enables easy angle adjustments even if the camera is mounted on a tripod or has a battery grip attached.
Automatic Scene Analysis for Standout Color.
The EOS Rebel T3i DSLR's new Scene Intelligent Auto mode unites five Canon digital camera technologies – the new Picture Style Auto, plus Automatic Lighting Optimizer, Automatic White Balance, Autofocus, and Automatic Exposure –into a powerful new feature for photographers. Using the advanced EOS Scene Detection System, the camera automatically analyzes the image, taking into account faces, colors, brightness, movement and contrast. Scene Intelligent Auto then chooses the enhancing features to deliver maximum impact. Blues and greens are more vivid, "hot" colors are more fiery, and skin tones are smooth and truer to life.
CANON iMAGE GATEWAY Qualified
An online resource offering digital imaging education and photo and video sharing capabilities exclusively for registered owners of qualified Canon products. Members can read up on topics related to their products, how-to articles, and more.
Digital, AF/AE single-lens reflex, camera with built-in flash
Recording Media
SD/SDHC/SDXC card, via external media (USB v.2.0 hard drive, or via Wireless LAN (Eye-Fi card*))
*Canon cameras are not guaranteed to support Eye-Fi card functions, including wireless transfer. In case of an issue with the Eye-Fi card, please consult with the card manufacturer. The use of Eye-Fi cards may not be approved in all regions, or from one region to another; please contact the card manufacturer for status of approval in the country/region of use.
Image Format
22.3 x 14.9 mm (APS-C size)
Compatible Lenses
Canon EF lenses including EF-S lenses
(35mm-equivalent focal length is approx.1.6x the lens focal length)
Lens Mount
Canon EF mount
Image Sensor
High-sensitivity, high-resolution, large single-plate CMOS sensor
Effective pixels: Approx. 18.0 megapixels
Total Pixels
Total pixels: Approx. 18.70 megapixels
Aspect Ratio
3:2 (Horizontal : Vertical)
Color Filter System
RGB primary color filters
Low Pass Filter
Fixed position in front of the CMOS sensor
Dust Deletion Feature
(1) Automatic Sensor Cleaning
- Removes dust adhering to the low-pass filter.
- Self-cleaning executed automatically (taking 2 sec.) when power is turned on or off. Manual execution also possible (taking 5 sec.).
- Low-pass filter has a fluorine coating.
- The coordinates of the dust adhering to the low-pass filter are detected by a test shot and appended to subsequent images.
- The dust coordinate data appended to the image is used by the provided software to automatically erase the dust spots.
Recording System
Recording Format
Design rule for Camera File System 2.0 and 2.30
File Size
(1) Large: Approx. 17.90 Megapixels (5,184 x 3,456)
(2) Medium: Approx. 8.00 Megapixels (3,456 x 2,304)
(3) Small: Approx. 4.50 Megapixels (2,592 x 1,728)
(4) S2: Approx. 2.50 Megapixels (1,920 x 1,280)
(5) S3: Approx. 0.35 Megapixels (720 x 480)
(6) RAW: Approx. 17.90 Megapixels (5,184 x 3,456)
Exact file sizes depend on the subject, ISO speed, Picture Style, etc.
Recording Functions
Images record directly to the SD card.
File Numbering
Consecutive numbering, auto reset, manual reset.
RAW + JPEG Simultaneous Recording
RAW and Large JPEG images are recorded simultaneously
Color Space
sRGB, Adobe RGB
Picture Style
Auto, Standard, Portrait, Landscape, Neutral, Faithful, Monochrome, User Defined 1-3
White Balance
Auto, Daylight, Shade, Cloudy, Tungsten Light, White Fluorescent Light, Flash, Custom
Auto White Balance
Auto white balance with the image sensor
Color Temperature Compensation
White balance correction:
- Blue/amber bias: ±9 levels
- Magenta/green bias: ±9 levels
- ±3 levels, in single-level increments
Color Temperature Information Transmission
Eye-level SLR (with fixed pentamirror)
Vertical/Horizontal approx. 95% (TD)
Approx. 0.85x / 23.8° (with 50mm lens at infinity, -1 m-1 (dpt))
Eye Point
Approx. 19 mm (At -1m-1 from the eyepiece lens center)
Dioptric Adjustment Correction
Adjustable from approx. -3.0 to +1.0 m-1 (dpt)
Focusing Screen
Quick-return half mirror (transmittance: reflectance ratio of 40:60)
Viewfinder Information
1) AF information (AF points, focus confirmation light)
2) Exposure information (Shutter speed, aperture, ISO speed, AE lock, exposure level, spot metering circle, exposure warning)
3) Flash information (Flash ready, flash exposure compensation, high-speed sync, FE lock, red-eye reduction light)
4) Image information (Highlight tone priority, Monochrome shooting, maximum burst, white balance correction, SD card information)
5) Composition information (Grid, electronic level)
6) Battery check
Depth Of Field Preview
Enabled with depth-of-field preview button
TTL-CT-SIR AF-dedicated CMOS sensor
AF Points
9 points (Center AF point is AF cross-type at f/5.6, Center AF point is vertical line-sensitive at f/2.8.)
AF Working Range
EV -0.5 - 18 (at 23°C/73°F and ISO 100, based on Canon's testing standards)
Focusing Modes
(1) Autofocus
- One-Shot AF
- Predictive AI Servo AF
- AI Focus AF
AF Point Selection
(1) Manual selection
(2) Auto selection
* Automatically set (2) in Basic Zone modes and A-DEP mode.
Selected AF Point Display
Indicated by superimposed display in the viewfinder and on the LCD monitor
AF Assist Beam
(1) Intermittent firing of built-in flash
(2) Effective range: Approx. 4 m/13.1 ft at center, approx. 3.5 m/11.5 ft at periphery
* With an EOS-dedicated Speedlite attached, the Speedlite's AF-assist beam is emitted instead.
* Compatible with assist-beam (intermittent firing) of 320EX, 270EX II and 270EX flashes.
Exposure Control
Metering Modes
TTL maximum aperture metering with 63-zone metering sensor
- Evaluative metering (linkable to all AF points)
- Partial metering (center, approx. 9% of viewfinder at center)
- Spot metering (center, approx. 4% of viewfinder at center)
- Center-weighted average metering
Metering Range
EV 1.0 - EV 20.0 (at 73°F/23°C with EF50mm f/1.4 USM lens, ISO 100)
Exposure Control Systems
Program AE (Shiftable), Shutter-priority AE, Aperture-priority AE, Manual exposure, Automatic depth-of-field, Scene Intelligent Auto, Flash Off, Creative Auto, Programmed Image Control modes, E-TTL II autoflash program AE
ISO Speed Range
Auto, ISO 100 - 6400 (in whole-stop increments), H: 12800
Exposure Compensation
Manual: ±5 stops in 1/3- or 1/2-stop increments (AEB ±2 stops)
* Indicated up to ±3 stops in the viewfinder.
AE Lock
Auto: Applied in One-Shot AF mode with evaluative metering when focus is achieved
Manual: By AE lock button
Vertical-travel, mechanical, focal-plane shutter with all speeds electronically controlled.
Shutter Speeds
1/4000 to 1/60 sec., X-sync at 1/200 sec.
1/4000 to 30 sec., Bulb (Total shutter speed range. Available range varies by shooting mode.)
- Settable in 1/3- or 1/2-stop increments.
Shutter Release
Soft-touch electromagnetic release
Self Timer
10-sec. or 2-sec. delay
Remote Control
(1) The EOS Rebel T3i has a remote control terminal for Remote Switch RS-60E3.
(2) Compatible with Remote Controller RC-6, RC-1 and RC-5.
Built in Flash
Auto pop-up, retractable, built-in flash in the pentaprism
Flash Metering System
E-TTL II autoflash
Guide Number
Approx. 13/43 (at ISO 100 in meters/feet)
Recycling Time
Approx. 3 sec.
Flash Ready Indicator
Flash-ready icon lights in viewfinder
Flash Coverage
Up to 17mm focal length (equivalent to approx. 28mm in 135 format)
FE Lock
Flash Exposure Compensation
Up to ±2 stops in 1/3- or 1/2-stop increments
- Flash exposure compensation for built-in flash and Speedlite can be set with the camera.
External Speedlite
Flash Metering
E-TTL II autoflash
Flash Exposure Compensation
±2 stops in 1/3-stop or 1/2-stop increments
FE Lock
Drive System
Drive Modes
Single, Continuous, 10-sec. self-timer/Remote control, 2-sec. self-timer, Continuous shooting after 10-sec. self-timer
Continuous Shooting Speed
Max. approx. 3.7 fps [TD] (with One-Shot AF or AI SERVO AF)
* Same as with Battery Grip BG-E8 loaded with size-AA/LR6 alkaline batteries.
Maximum Burst
JPEG (Large/Fine): approx. 34
RAW: approx. 6
RAW+JPEG (Large/Fine): approx. 3
* The number of possible shots and maximum burst apply to a 4GB card based on Canon's testing standards.
* The image file size, number of possible shots, and maximum burst will vary depending on the shooting conditions (3:2 aspect ratio, subject, memory card brand, ISO speed, Picture Style, Custom Functions, etc.).
* "F" indicates that continuous shooting is possible until the card becomes full.
Live View Functions
Shooting Modes
Still photo shooting and video shooting
(1) Autofocus (Same as focusing with Live View shooting)
Before shooting a movie, 1, 2, and 3 below are possible.
AF during movie shooting is possible with [AF w/ shutter button during video]. When this is set to [Enable], 1 and 2 below are possible:
A. Live mode
B. Face detection Live mode
C. Quick mode
* If 3 has been set when you start shooting a movie, it will switch to 1 automatically.
(2) Manual focusing
* Magnify the image by about 5x or 10x and focus manually.
* Magnified view not possible with digital zoom nor during movie shooting.
Metering Modes
(1) AF point-linked evaluative metering
* Used when the AF mode is Face detection Live mode and a face has been detected.
(2) Center-weighted average metering
* Used during manual focus, when the AF mode is Face detection Live mode and a face has not been detected. Also used in the Live mode and Quick mode.
* Metering range: EV 0 to EV 20 (At 23°C/73°F and ISO 100, with 50mm f/1.4 lens)
Metering Range
EV 0 to EV 20 (At 23°C/73°F and ISO 100, with 50mm f/1.4 lens)
Grid Display
Two grids provided (not displayed during movie shooting):
(1) Grid 1: Pair of vertical and horizontal lines
(2) Grid 2: 5 vertical and 3 horizontal lines
Exposure Simulation
Silent Shooting
Not provided
Video Shooting
File Format
MOV (image data: H.264; audio: Linear PCM (monaural))
* Meta information is embedded in the MOV file (no separate THM file)
File Size
Recording Size: 1920 x 1080 (Full HD), 1280 x 720 (HD), 640 x 480 (SD)
|Movie-recording Size
|Total Recording Time
|File Size
|8GB Card
|16GB Card
|22 min.
|44 min.
|330 MB/min.
|22 min.
|22 min.
|330 MB/min.
|1 hr. 32 min.
|3 hr. 4 min.
|82.5 MB/min.
* The file system limits the file size of a single movie clip to 4 GB. If the movie clip reaches 4 GB, the shooting will stop automatically. This translates to around 11 min. for 1920 x 1080 and 1280 x 720, and around 46 min. for 640 x 480.
* Even if the file size of a single movie clip is within 4 GB, movie shooting will automatically terminate when the movie time reaches 29 min. 59 sec.
Frame Rates
24, 25, 30, 50, or 60 fps (30 fps during magnified view)
(1) Autofocus (Same as focusing with Live View shooting)
Before shooting a movie, A, B, and C below are possible.
AF during movie shooting is possible with [AF w/ shutter button during video]. When this is set to [Enable], A and B below are possible:
A. Live mode
B. Face detection Live mode
C. Quick mode
* If C has been set when you start shooting a movie, it will switch to A automatically.
(2) Manual focusing
* Magnify the image by about 5x or 10x and focus manually.
* Magnified view not possible with digital zoom nor during movie shooting.
Exposure Control
Program AE for video shooting, Manual exposure
Exposure Compensation
±3 stops in 1/3-stop increments
LCD Monitor
TFT color, liquid-crystal monitor
Monitor Size
3.0 in. (Screen aspect ratio of 3:2)
Approx. 1,040,000 dots
Approx. 100%
Viewing Angle: 170°
Brightness Control
Adjustable to one of seven brightness levels
Interface Languages
25 (English, German, French, Dutch, Danish, Portuguese, Finnish, Italian, Norwegian, Swedish, Spanish, Greek, Russian, Polish, Hungarian, Czech, Romanian, Ukraine, Turkish, Arabic, Thai, Simplified Chinese, Traditional Chinese, Korean and Japanese)
Display Format
(1) Single image display
- Single image, basic information, detailed information, histogram display
- 4-image index and 9-image index.
- 1/10/100 images, shooting date, by folder, movies, stills, rating
Highlight Alert
On the detailed information and histogram displays, highlight areas with no image data will blink.
Image Protection and Erase
Erase protection can be applied/canceled for a single image, all images in a folder, or all images in the card.
Erase single image, erase selected images, erase all images on folder, erase all images in a card, or erase only unprotected images.
Direct Printing
Compatible Printers
PictBridge-compatible printers
Printable Images
JPEG images complying to Design rule for Camera File System
- RAW images printable.
- Movies cannot be printed.
DPOF: Digital Print Order Format
Version 1.1 compatible
Custom Functions
11 Custom Functions with 34 settings settable with the camera
Camera User Settings
Not provided
USB Terminal
Hi-Speed USB-standard mini-B terminal for personal computer communications and PictBridge.
Video Out Terminal
(1) Video OUT terminal: NTSC/PAL selectable
(2) mini-HDMI OUT terminal
Power Source
Battery Pack LP-E8 x 1
* With the AC Adapter Kit ACK-E8, AC power is possible.
* With BG-E8, two battery packs (LP-E8) can be used. Or six size-AA/LR6 batteries can be used.
Battery Life
1) Camera body only:
|Shooting Method
|Shooting Conditions
|Viewfinder Shooting
|At 73°F/23°C
|Approx. 550
|Approx. 440
|At 32°F/0°C
|Approx. 470
|Approx. 400
|Live View Shooting
|At 73°F/23°C
|Approx. 200
|Approx. 180
|At 32°F/0°C
|Approx. 170
|Approx. 150
2) With Battery Grip BG-E8:
|Shooting Method
|Shooting Conditions
|Viewfinder Shooting
|LP-E8 x 1
|Same as (1)
|LP-E8 x 2
|At 73°F/23°C
|Approx. 1100
|Approx. 880
|At 32°F/0°C
|Approx. 940
|Approx. 800
alkaline batteries
|At 73°F/23°C
|Approx. 470
|Approx. 270
|At 32°F/0°C
|Approx. 130
|Approx. 80
|Live View Shooting
|LP-E8 x 1
|Same as (1)
|LP-E8 x 2
|At 73°F/23°C
|Approx. 400
|Approx. 360
|At 32°F/0°C
|Approx. 340
|Approx. 300
alkaline batteries
|At 73°F/23°C
|At 32°F/0°C
Battery Check
Automatic battery level check when power is turned ON.
Battery level indicated in one of four levels on LCD monitor.
Power Saving
Power turns off after the set time of non-operation elapses
* [Auto power off] settable to 30 sec., 1 min., 2 min., 4 min., 8 min., or 15 min.
Date/Time Battery
Built-in secondary battery. When fully-charged, the date/time can be maintained for about three months.
Start-up Time
Approx. 0.1 sec. (Based on CIPA testing standards)
Dimensions and Weight
Dimensions (W x H x D)
Approx. 5.2 x 3.9 x 3.1 in./133.1 x 99.5 x 79.7mm
Approx. 18.2 oz. / 515g (body only)
Operating Environment
Working Temperature Range
Working Humidity Range
85% or less
If a problem occurs with a non-Canon lens attached to the camera, consult the lens maker.
Canon, DIGIC and EOS Rebel are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries. Microsoft, Windows and Windows Vista are trademarks or registered trademarks of Microsoft Corporation in the United States and/or other countries. Mac is a trademark of Apple, Inc., registered in the United States and other countries. HDMI, the HDMI logo and High-Definition Multimedia Interface are registered trademarks or trademarks of HDMI Licensing, LLC in the United States and/or other countries. All other products and brand names are registered trademarks, trademarks or service marks of their respective owners in the United States and/or other countries.


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DeAundre Bonds (Actor From Tales From The Hood, Tha Wood & More) - Rap Gods (Tribute To 2pac, Biggie, Jay-Z) [Unsigned Hype]
DeAundre Bonds - RAP GODS !!!! ( tribute to tupac,biggie, jay z ) off the Real Life Album available on itunes now !!!! @deaundrebonds
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With energy-aware industrial devices coming into the marketplace, manufacturers and OEMs will have an important tool to help reduce energy costs as much as 20-30 percent using intelligent, Ethernet-based networking.
Using open-interface standards such as PROFIenergy, Sercos Energy, and the CIP Energy Object, these new energy-saving strategies could become part of a new normal for manufacturers and machinery builders implementing automation application solutions.
The initial target applications are monitoring and saving energy by placing systems into standby mode during production pauses. And even though the base technology has been ready for a couple of years, application deployment has taken time. But now, with the first wave of open-interface, energy-aware devices coming to market, the pace is increasing as companies explore how to integrate energy priorities into the real-time control loops of automation machinery.
Saving 20-30 percent of energy just by entering standby mode during production pauses offers the potential to save hundreds of thousands of dollars in large automotive plants. In some parts of the world, companies are penalized for having a large carbon footprint, so implementing energy protocols becomes a huge deal if carbon credits are a factor for manufacturers.
Scott Hibbard, vice president of factory automation technology at Bosch Rexroth , told me it had already been putting energy functions into products even before the release of Sercos Energy. But now the process has turned to converting to the open-interface standard for drives, CNCs, and motion controls.
The standardized version for controllers is expected to be in prototype units early this year for customers to try out on their machines. The new controls will use the Sercos Energy information in conjunction with function blocks in PLC programs as part of Rexroth's 4EE energy efficiency program for manufacturing equipment.
Using an IEC-61131 energy efficiency function block to pull in data from Sercos Energy-capable devices, information is presented to the programmer, who can create functions that monitor energy use and/or tune down devices. By performing calculations, the programmer can determine whether to idle a piece of equipment for a specific period to save energy.


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With the Canine Flu Epidemic in the City of Chicago and surrounding areas, the Animal Welfare League is taking all necessary precautions and has Closed the Shelter for all Dog Adoptions.
This has placed a great financial burden on our shelter. Please help us to help them get well and stay well. Financial Donations at this time will be used to purchase much needed medical supplies, vaccines, canned dog/cat food and chicken baby food.
To make a donation online, click here.
For more information on our closing for dog adoption, click here.


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MHS for the Media
BOSTON, August 2011—The Massachusetts Historical Society (MHS) announced today the acquisition of the fourth volume of a set of Revolutionary-era Boston newspapers collected, annotated, and indexed by Harbottle Dorr, Jr., from 1765-1776. With the other three volumes already in the Society's collections, volume four, covering the years 1772-1776, completes the set as originally compiled by Dorr. It was auctioned at James D. Julia, Inc., an auction house in Fairfield, Maine, on August 25. The purchase was made possible through a combination of gifts to the MHS from anonymous donors and a distribution from the Society's acquisition fund.
The MHS is thrilled to have all four volumes under one roof. "This new acquisition is a wonderful complement to the Society's collections," explains Dennis Fiori, President of the Massachusetts Historical Society. "This was a rare opportunity to acquire a piece of such historical importance. Not only are we reuniting a set of significant resources on the Revolution, but we are ensuring that it remains part of the public domain."
Though not a household name, Harbottle Dorr, Jr., a shopkeeper in Boston at the time of the American Revolution, is an important historical figure due to the remarkable archive of Boston newspapers he collected between 1765 and 1776. Dorr systematically indexed the contents of the newspapers, and, as he was well versed in the heated politics of his day, he often noted the identities of anonymous contributors. The annotated volumes provide the insights of an ordinary man as the Revolution unfolded around him. In the introduction to volume four, Dorr writes, "I have thought it worth while to collect them, tho' at considerable expence, and VERY GREAT TROUBLE, in hopes that in future, they may be of some service, towards forming a POLITICAL History of this Country, during the shameful, and abandoned administration of George the third's despotic Ministry."
Former MHS Trustee Bernard Bailyn, Adams University Professor and James Duncan Phillips Professor of Early American History, emeritus, at Harvard University, notes, "… those rare records that reveal what the Revolution meant to ordinary men who experienced it…. The more ordinary the mind and the more typical the career, the more valuable the documentation, and there is no more ordinary active participant in the Revolution and no one who left behind a more revealing record of the inner, personal meaning of the Revolution than a Boston shopkeeper with the unlikely name of Harbottle Dorr. His passionately patriotic scribbling in the margins of the newspapers and pamphlets he collected and his comments in his superbly confused indexes to his volumes are unique in the literature of the Revolution."
Dorr divided his archive of 3,280 pages of newspapers and other documents, including pamphlets, political cartoons, and broadsheets, into four volumes. Volumes two and three were donated to the Massachusetts Historical Society in 1798 by Josiah Quincy. The first volume was acquired by the Society in 1888. The fourth volume, dating from 1772-1776, has been in the possession of the Bangor Museum and Center for History in Maine since 1914 when it was donated by Thomas Upham Coe.


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The Hook - Charlottesville's weekly newspaper, news magazine
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hunger strike
Unsatisfied: Hunger strike ends with mixed messages
Published on
Mar 2nd, 2012
35 comments
After a hunger strike lasting up to 13 days and following a statement from UVA administration declining to raise the minimum wage at UVA to $13 an hour, activists for the Living Wage Campaign at UVA...
Unfed for a cause: Student hunger strike enters second week
Published on
Feb 27th, 2012
34 comments
Exhausted and hungry but determined. That's how the 20 UVA students on a hunger strike to protest for a "living wage" at UVA describe themselves. On Monday, February 27– a full 10 days since...
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Pasta Primavera in a San Marzano Marinara Sauce
I am being quite the bad Jew this Pesach. Instead of posting a recipe geared toward the holiday, I'm posting one about pasta. What can I say? I'm a noodle whore. I do have a bangin' kugel recipe, but I'm saving it for my fantabulous book, so no spoilers :)
It's funny because after I left home, I completely abandoned the daily ritual of family dinner. The closest I get these days is Jane and I sitting at our computer desks, scarfing down our very different meals in blissful silence. There's no fighting, no awkward conversational pauses, and no picking out bad manners. Nothing like a family dinner at all. I await the day I have a little Shag-let of my own to cook dinner for, then sit down around the kitchen table and quibble over life's trivialities. Which brings me to the main topic of my post: Baby Fever.
What is Baby Fever, you ask? Well, it's a concept that's quite new to me as well. Jane introduced it to me first.
"I have such bad Baby Fever today", she said.
"Baby Fever?!", I asked.
"Yeah, you know. When you just crave having a little one in your life to care for. Baby Fever."
I'd never heard of the concept before, but all of a sudden, I started to notice these odd longings for motherhood and all the goodness it has to offer. Of course, I'm in no position to actually have a child. I'm unemployed, enjoy smoking pot way too much, and have quite a bit of living to do before I can actually even consider having a child of my own, but the Fever is giving me the chills none-the-less.
As a lesbian, at first I abandoned the thought of ever wanting children. The only way for my wife and I to actually have a child that would be both of ours would be for one of us to implant our eggs in the other, which would cost a pretty penny. Luckily, my OBGYN tells me I'm the most fertile women she's seen all year, so I suppose the task shouldn't be that difficult...but it's still a lot more complicated than what breeders need to do to create a child. Oh well, at least I never have to worry about birth control, which is a great thing because I'm allergic to latex. The funny thing is, my ONLY allergy is to latex. I should've taken it as a sign that nature was trying to tell me I was actually allergic to men, but you live, you learn.
Anyway, I've gone off on a complete tangent. The recipe.
Yes, this is a much more simple dish than I usually post, but it's one I make myself for dinner at least once a week. I'm kind of a perfectionist when it comes to pasta dishes. The noodles must be cooked perfectly al Dente. The sauce must be flavored correctly. And I want it served hot and fresh.
This is a great meal you can easily throw together for a dinner party or for your family. Enjoy it!
For The Sauce...
- 3 TBSP Olive Oil
- 6 cloves Garlic, minced
- 1/2 Onion, finely chopped
- 2 large cans San Marzano Tomatoes in Juice
- 2 15 oz cans Muir Glen Tomato Sauce
- 2 Bay Leaves
- 1/4 cup Fresh Oregano Leaves, finely chopped
- 1/4 cup Fresh Parsley Leaves, finely chopped
- Red Pepper Flakes, to taste
- Salt and Freshly Cracked Black Pepper, to taste
In a large sauce pot, heat the olive oil over medium high heat. Once hot, add the onions and garlic, and saute until the onions are soft and translucent.
Add the San Marzanos and their juice, the two cans of Tomato Sauce, bay leaves, parsley and oregano, and stir to combine. Add a touch of the red pepper flakes, salt and pepper, then bring the sauce to a simmer. Allow the sauce to simmer, stirring occasionally, for about an hour. Taste again for salt and pepper.
Remove the pot from heat, discard the bay leaves, then use an immersion blender to puree until smooth. If you don't have an immersion blender, you can either mash up the San Marzanos with a potato masher or optionally puree in a blender or food processor.
Set aside until ready to use with the pasta.
For The Pasta....
- 1 lb Spaghetti Noodles
- 1/4 cup Olive Oil, plus more for the noodles
- 4 cloves Garlic, minced
- 1/2 Onion, finely chopped
- 8 oz White Button Mushrooms, sliced
- 3 Portobello Mushrooms, diced
- 1 Zucchini, cut into 1 inch long matchstick slices
- 4 cups diced Kale, tough stems discarded
- White Wine, for de-glazing pan (about 1/4 cup)
- Salt and Pepper, to taste
- Dr Cows Tree Nut Cheese, finely grated (optional, for garnish)
Cook the pasta noodles in a large pot of salted, boiling water until just al Dente. Drain well, toss with a touch of olive oil to prevent sticking, then set aside.
In a very large saute pan, heat the olive oil over medium high heat. Add the garlic and onions to the pan, and saute for a few moments until the onions have softened. Add both mushrooms and the zucchini, season with salt and pepper, and saute until the soft and tender, about 5-10 minutes. De-glaze the pan with the white wine, then add the kale and saute until soft and wilted, about 5 more minutes.
Toss the veggies and the pasta in a very large bowl, then toss with the marinara sauce and serve garnished with Dr. Cow's Cheese.


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Appreciate the Distant Shadows comment, Joe. Thanks
Quote from: APK on April 03, 2011, 05:53:11 PMAppreciate the Distant Shadows comment, Joe. Thanks I'm interested in this too. Will there be US/Canada distribution for hard copies?
Paul Vnuk Jr. - Silence Speaks in Shadow. Probably my favorite Hypnos release. Setting up an atmosphere of urban ambience to perfection. While Burial certainly capitalized sleeping city soundtracks, this is more my preference. Will have to dig out Chris Meloche's - Recurring Dreams of the Urban Myth (FAX) later.


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Since it's inception in 2002 Ring of Honor has become known for it's outstanding technical classics featuring the likes of Bryan Danielson, Austin Aries, Nigel McGuinness and many, many more.
But there are times when a rivalry becomes so heated that a technical straight up wrestling match just won't do. This is where encounters such as street fights, barbed wire matches, cage matches, last man standing and even a Cage of Death match come into play, and ROH has held many of these matches over the years.
Now they've chosen 19 of these matches from deep within their archives for a two disc set, so they'll probably be crimson masks aplenty as we take a look at Ring of Hardcore.
And as is the custom with such releases, let's start at the beginning with….
Disc One
August 24th, 2002
The collection begins with tag team action as the Carnage Crew, Loc and Devito, face Da Hit Squad, Mafia and Monsta Mack, in a Boston Massacre Match at Honor Invades Boston.
As the footage began the words "the Code of Honor has been waived!" appeared on the screen. That much was obvious when these guys began brawling all around ringside as soon as the bell sounded, and it wasn't long before the crimson began to flow when the Crew's Devito and the Squad's Mafia took it in turns to wrap their fists in a piece of barbed wire.
About halfway through Mafia and Mack called a proverbial time out and left the ring, only to return a few moments later with two massive barbed wire boards. This brought smiles to the faces of Loc and Devito as the match resumed. This big men soon found themselves trying to avoid the wire at all costs before Mafia was whipped into one and Devito was speared into the other. Mack then took Loc down with a burning hammer driver for the three count.
November 29th, 2003
It's a no rope barbed wire match as Homicide takes on Steve Corino at Born to be Wired.
The first thing that was noticeable about this match was the ring attire, because while Homicide was dressed in an overall Corino went to the dance in his traditional wrestling attire.
As for the match, I think brutal is the best way to describe it. Both guys adopted cautious tactics at the beginning, but the wire soon came into play with Homicide to the first to suffer. However, he soon upped the ante a little by busting Corino open and inflicting further damage with numerous fork shots.
As the action progressed both men found themselves whipped into and tangled up in the wire on numerous occasions. They also went through a barbed wire table in one of the corners. But perhaps the most brutal moment came when Corino suplexed Homicide through a barricade in the middle of the ring.
It looked all over there and then, but Homicide soon recovered enough to lock in an STF, only for the hold to be broken when Corino's corner man threw medical alcohol into his face. Not only did it sting his eyes it also had the same effect on his open wounds, and those of Corino was well.
But with the damage done Corino sucked it up one last time, and after putting on a pair of safety gloves and wrapping his man up in wire he applied his cobra/camel clutch combination. Homicide held out for as long as he could, but with the wire digging into his throat his corner man Julius Smokes had no choice but to throw in the towel, saving his man from further punishment and giving the win to Corino.
March 13th, 2004
It's onto to championship action for the next match as Tag Champ Jay Briscoe challenges Samoa Joe for the World title in a steel cage match at At Our Best.
As you can probably tell from the date that the Jay Briscoe in this match was quite a lot different to the Jay Briscoe we know and love now. These days he'd stand and trade with the likes of Samoa Joe. Back then he began the match by trying to escape from the cage.
Needless to say that Joe soon dragged him back into the ring and took him to the proverbial woodshed. The champ was at his absolute brutal best here as he took Briscoe apart, busting him open when he speared him head first into the cage and opening the wound up further with a face wash in the corner.
But with Briscoe continued attempts to gain an early exit Joe negated this strategy by taking a lock and chain he'd hidden in one of the corner pads and using it to lock the door. This didn't exactly sit too well with Jay's brother Mark at ringside.
As the match went on the blood began to flow ever more freely from Jay's head, and although Joe controlled the majority of the action Jay kept coming back, eventually taking his man down with the Jay driller. He also almost found a unique way to escape when another Joe face wash broke the cage open in one of the corners. Jay tried to escape until Joe dragged him back into the ring.
Eventually the battle took them to the top rope, and after they struggled there for a few moments Joe took Jay down with a big muscle buster for the winning pin.
Also on the same show the Carnage Crew took on Special K in a scramble cage match.
The rules for this one were similar to the War Games and Lethal Lockdown matches, but even with the likes of Justin Credible joining Loc and Devito against the stoner kids the rules were thrown out of the window and the numbers were completely against them as the entire K faction entered the match.
This turned the proceedings into one massive brawl, and at one point even Dusty Rhodes entered the match to help his fellow common men against the rich kids. He delivered a few bionic elbows before the stoners, including the future Jay Lethal, ganged up on him. It was then that Ox Baker, yes, that Ox Baker, made his way out and dragged Rhodes out of the cage before the two old timers brawled their way backstage.
A few moments later the bodies began to fly as the brawl spilled to the outside as Special K's Slim Jim jumped down from the platform on the top of the cage onto the brawlers below.
Eventually some of those taken down recovered enough to start brawling again, and as Devito and Credible stacked up some tables in the ring Loc chased Angel Dust onto the top platform. It was then that Devito climbed to the platform, and with a little help from his regular partner he took the stoner down with a piledriver through two tables for the winning pin.
July 24th, 2004
It's back to two-on-two action as the Second City Saints team of C.M. Punk and Ace Steel take on Dan Maff and B.J. Whitmer in a Chicago street fight at Death Before Dishonor II Part 2.
This proved to be a particularly brutal encounter. For over twenty minutes these two teams beat the proverbial out of each other with anything they could get their hands on as the faithful ate up everything they saw.
Punk and Steel were the first ones to bleed in this one, and at one point the former Prophecy members were whipping their boys like government mules. But the Saints soon came back into the match with some brutal shots of their own, and it wasn't long before items such as a barbed wire two by four and a barbed wire board were brought into the equation.
Eventually, having used all of their toys, they reached a stand off of sorts. All four men stood in the ring with chairs in hand as they took it in turns to clobber each other. Punk and Steel won this particular battle, but when they went to get more chairs from the fans we had an ECW-like moment as the fans threw all of their chairs into the ring. Sadly there was no Joey Styles-like "oh my god!" moment from the commentary team.
As the end neared Punk took to the sky and took out Maff with a big splash from the top rope while Maff was on a ladder perched between two guardrails. Back in the ring Steel and Whitmer jockeyed for position on the top rope for a few moments before Steel took his man down with a Tombstone through a table and onto a pile of chairs for the winning pin.
November 5th, 2004
It's a quick return for Maff and Whitmer in this collection as they face the Carnage Crew in a Boston street fight at Weekend of Thunder Night 1.
The former Prophecy members were quick to move on to another brutal feud, and although this was a rather short encounter compared to the bloodbath against the Saints it served it's purpose.
It basically began with the two teams beating the hell out of each other around ringside, and unlike the aforementioned other match they did so using good old fashioned fists and boots.
Maff and Whitmer had the upper hand when their former stable-mate Allison Danger came down to ringside with two rubbish bins. She had some trouble trying to throw them into the ring so Loc and Devito could use them, but the distraction was enough because after Maff threw a chair at her Whitmer tried to chase her backstage.
This meant that Maff was left alone in the ring with Loc and Devito, and they soon took the winning pin after clobbering Maff with the bins at the same time before clobbering Whitmer with the same weapon.
December 26th, 2004
The feud between the Carnage Crew and Maff and Whitmer continues in a Fight Without Honor at Final Battle 2004.
Now this was a little more brutal. As Allison Danger screamed and stalked around ringside these two teams beat the snot out of each other, and this time around the weapons came into play quite early, as did the blood letting.
There were tons of chair shots, ladder shots, kendo stick shots and more, but after they'd been battling for just over ten minutes none other than Mick Foley came down to the ring with a Christmas stocking. He then took to the microphone and said that there was just one thing missing from this match. He then proceeded to empty the stocking's contents into the middle of the ring, a big pile of thumb tacks. (Although we Brits call them by their proper name, drawing pins.)
What followed was several attempts by all four men to use their new weapons, the most successful being Whitmer's wrist clutch exploder suplex on Devito as his team took the winning pin.
April 1st, 2006
It's time for another Chicago street fight, this time between Homicide and Colt Cabana at Better Than Our Best.
Cabana is normally known for his happy go lucky comedy-style matches, but this encounter showed that he has a nasty streak in him as he tore shreds off the man who, at one time during their feud, tried to pour drain cleaner down his throat.
So after reading that you've probably realised just how heated this match was. The opening exchanges were quite brutal, but that brutality level got turned up a notch of three when they introduced the weapons into the match. The blood letting in this one came when Cabana used Homicide's very own fork against him, and the way he went about stabbing him in the head made me wonder if he'd been taking lessons from good old Abdullah. The wounds Homicide was now suffering from were made even worse when Cabana sprayed rubbing alcohol into them.
It wasn't all one way traffic though. Homicide, with a little help from his buddy Julius Smokes, had his fair share of brutal moments as well, and he even tried to introduce some more drain fluid into the match. Thankfully Mr. Cabana didn't even let him open the bottle.
Mention must also be made of another re-enactment of that certain ECW moment as the Chicago natives, at Homicide's urging, once again threw their chairs into the ring. At least this gave us a holy you know what moment when Cabana superplexed his man onto a pile of steel in the middle of the ring.
Cabana had several attempts at the end to put his man away. The first was a powerbomb from the top rope through a table and onto a barbed wire board, the second a good old fashioned lariat. But with neither of these getting the job done Cabana took him down again with an over the shoulder backbreaker to finally secure the winning pin.
July 15th, 2006
It's inter-promotional war time as Team ROH take on Team CZW in a Cage of Death match at Death Before Dishonor IV.
Now I've seen a few Cage of Death matches in my time, but I've never seen one like this before, mainly because it was actually quite entertaining.
Beginning with Samoa Joe against Claudio Castagnoli this one was contested along the lines of Lethal Lockdown or War Games. ROH had the one man advantage here, and it wasn't long before B.J. Whitmer joined the battle, followed a short time later by Chris Hero for CZW.
But when Bryan Danielson entered the fray as ROH's third man the tide turned dramatically as he and Joe took their men apart. Then came the double cross as Danielson attacked Joe, clobbering his knee with a steel chair. Dragon then left the cage, and with Joe unable to continue Whitmer was left in a three-on-one situation when Nate Webb entered the match.
But as the numbers increased and the blood flowed readily ROH were down five to three. Ace Steel and Adam Pearce had joined Whitmer, but Hero and his boys had been joined by Necro Butcher and Eddie Kingston.
The CZW boys were certainly having some fun as they enjoyed their two man advantage, but that all changed when Homicide entered the fray, and even though ROH were still a man down Homicide's entrance into the match rejuvenated his team-mates, especially when he handed them forks so they could stab their opponents in the head.
So although all hell had broken loose half an hour before it got even looser as the holy you what and the sick you know what came thick and fast.
Eventually something had to give, and with all the barbed wire inspired weapons handing around it was inevitable that particular item would be involved. It was also inevitable that Homicide have the final say, because as he jockeyed for position with Webb he soon won out and took the Spider man down with the Cop Killer on a barbed wire board for the winning pin.
Disc Two
July 28th, 2006
Having already beaten the hell out of each other in the Cage of Death B.J. Whitmer and the Necro Butcher now go at it in a barbed wire match at War of the Wire II.
It's no secret that I've never been a fan of the Necro Butcher (and I know that annoys the hell out of a certain half-wit in Swaffham), but even in his specialist environment I found his performance to be somewhat lacking.
As with the previous cage match this was a brutal affair, and it had many of the same hallmarks as well, with the two combatants jockeying for position as they tried to push each other into the wire. Necro was the first to achieve his aim when he pushed Whitmer in chest first. He was also the first to draw blood when he clobbered his man with a chair.
As they turned the action up a marginal notch the sick moments came into play. Whitmer took a pair of wire cutters that Necro tried to use on him to cut away the wire from one side of the ring, with the intention of power bombing Necro into the barbed wire-topped table at ringside. His play went a little awry though when Necro countered the move and put his own body on the line when he executed a sit-down powerbomb through the aforementioned piece of furniture. Afterwards Whitmer had to be cut from the wire because of his long lustrous locks.
The sick moments soon came thick and fast, particularly when thumb tacks were introduced into the mix, and when Necro put Whitmer through another barbed wire-topped table with a fireman's carry. After he was cut out once again Whitmer returned the favour by taking the massive barbed wire board and turning it upside down so he could place it on a prone Butcher. The next thing he did was hammer the board with a chair before climbing to the top of a ladder and coming down with a big splash. But despite this he couldn't get the job done, and it was only when he took Necro down with an exploder suplex on the tacks that he finally got the winning pin.
December 9th, 2006
It's back to steel cage action again, this time with Homicide and Adam Pearce at Chicago Spectacular Night 2.
Now this was a lot better than the previous match. It began with both men trying to throw each other into the cage before it turned into a part-brawl, part-grappling encounter, although the grappling went out of the window a little when Homicide wanted to use a fork, and when a fan threw one into the ring the referee quickly confiscated it.
A few moments later Pearce called his buddy Shane Hagadorn down to the ring. Hagadorn gave his friend a leather strap, but when Homicide went after him the future manager slammed the door into his head, busting him open.
A short time later Homicide finally got his request with regards to the fork. With the referee dazed after an accidental meeting with Pearce's elbow Homicide went to check on his condition, although his real intention was to retrieve the fork from the official's pocket. He then proceeded to stab Pearce in the head with it as he joined Homicide in the blood-letting stakes.
Pearce almost took the win with a figure four, and a few minutes later, after both men struggled for position on the top rope, Homicide took Pearce down with an Ace crusher, and two lariat clotheslines later he had the win.
January 27th, 2007
It's another outing for B.J. Whitmer as he takes on his old tag partner Jimmy Jacobs in a last man standing match at Battle of the Icons.
This may not have been as brutal as some of the matches on this collection but it sure was one compelling encounter, especially when you consider the long and storied history between these two.
It began with Whitmer clobbering Jacobs with a chair as he made his entrance, and after a brief foray into the ring it wasn't long before they were brawling in the crowd and throwing chairs at each other.
Eventually they made it back between the ropes, and with his crazed and manipulative girlfriend Lacey screaming orders from ringside Jacobs took control when he brought his trusty railway spike into the match so he could relieve Whitmer of a few quarts of blood.
The best spot of the match came when Whitmer was intent on putting Jacobs through a ringside table. It never happened. Instead Jacobs ran the ropes and speared Whitmer off the table and into the ringside barrier, although the table did break in the process.
As the match neared the end, and after both men had beaten the ten count on numerous occasions it looked like Jacobs was going to take the win, but when he went to spear Whitmer through a table old BJ hit him in the head with a chair as he came forward. He then lifted Jacobs onto the top rope and took him down with a superplex.
The referee then began his count, but just as he was about to hit 10 Whitmer stopped him, intent on power bombing him through the table propped up in the corner of the ring. It proved to be his undoing, because just as he was about to execute the move Lacey's hired gun Brent Albright stormed the ring and attacked before putting him through the table with his own move, the exploder suplex.
So as Albright helped Jacobs to his feet and propped him up on the ropes the referee began his count, and just as Whitmer was about to get back to his feet Albright put him down again just as the referee reached ten, giving the somewhat tainted win to Jacobs.
August 11th, 2007
It's time for a mass brawl as Roderick Strong, Rocky Romero, Davey Richards and Matt Sydal take on Austin Aries, Delirious, Erick Stevens and Matt Cross in a Philadelphia street fight at Death Before Dishonor V Night 2.
This was the culmination of the feud between Strong's No Remorse Corp and Aries Resilience faction, with long-standing rivals Sydal and Delirious added into the mix. Basically what we had here was one big fight that took in the entire arena. It was absolutely brutal at times as they hit each other with tables, ladders, chairs, and anything else they could get their hands on.
The holy you know what moment actually came quite early on. Sydal and Cross had been battling away atop some stacked away bleachers, and as they tried to put each other away with various moves Cross sent his man crashing down onto the other combatants below. But that wasn't the move I was talking about, because Cross then took a long run-up and launched himself off the wall as he dived down and onto those below.
Eventually, as bodies lay all over the place, Strong and Stevens were left to duke it out in the ring, and after a brief struggle on the top rope Strong took his man down with a half nelson suplex onto a ladder perched between two chairs. He then applied his stronghold finisher, and with Stevens out of it the referee called for the bell and gave the No Remorse Corp the submission win.
September 15th, 2007
It's title action time with El Generico and Kevin Steen challenging the Briscoes for the Tag Team titles in a Ladder War match at Man Up!
The beauty about this match is that you will never see anything like it in either WWE or TNA. You may eventually see those here in ladder matches there, but they won't be anything like this.
For nearly thirty minutes these two teams beat the hell out of each other. It began when the Briscoes threw a ladder into the ring as they made their entrance, and it wasn't long before they were clobbering each other with chairs and throwing each other into stacks of the things.
When they made it to the ring the action got even better. There were numerous oh my gawd! moments, the best of these being when the brothers used a high hip toss to send Generico crashing into a ladder in the corner, the impact of which bent the thing in half. It certainly was a high impact move, and the ladder moves here were so high impact that every other ladder in the match was damaged beyond repair.
Eventually the brothers called for the maintenance ladder at the back of the hall. It was a big old thing, and it took several men to actually carry it into the ring, and the introduction of this apparatus took the action level up another notch. Both teams wedged what was left of two of the other ladders between the new ladder and the corners, and moments later Steen used one to take down Mark with his package piledriver before Jay used the other to take Generico down with the Jay driller.
This left Jay to grab the belts, and after twice fighting off the advances of Steen he eventually grabbed the belts to claim the title retaining win for his team.
Of course this collection doesn't include what happened immediately after this match, the memorable debut of Jimmy Jacobs' Age of the Fall faction, but it does lead rather nicely to the next encounter.
March 16th, 2008
The Briscoes are at it again, and this time they're taking on the Necro Butcher and Joey Matthews in a street fight at Take No Prisoners.
These four men didn't even wait to get into the arena before they started brawling. The action actually began in a corridor backstage, but it wasn't long before they took the fight into the hall through a side door, and once they got there blood was quickly drawn when Necro clobbered Mark in the side of the head with a shovel.
With that one move it was obvious that this would be a wild and crazy encounter, so crazy in fact that the back-ups for both teams, Daizee Haze and Lacey, engaged in a brawl themselves, and there was one moment when they outshone the brawl through the crowd with their exchanges in the ring.
But that was soon forgotten once they took their brawl backstage and left the guys to beat the proverbial out of each other as they tried to hit each other with anything that wasn't nailed down. It was kind of fun to watch, and another example of why Necro is better in this kind of environment than in a straight wrestling match.
Once again there were several holy you know what moments, but the best of these came near the end when Necro and Mark were brawling through the fans again. As they neared the entrance-way Mark put Necro on a table. He then climbed to the top of the scaffold and came down with a big splash, putting the butcher through the table. It was all the more impressive considering that this wasn't the steady entrance scaffolding that WWE uses.
While all of this was going on Jay was getting it done in the ring. After putting Matthews through a table in the corner with a Death Valley driver he took his man out with the Jay driller to end the brutality and take the win, putting one over the Age of the Fall. And speaking of that particular faction…..
April 4th, 2009
The Age of the Fall are on their way out as former comrades Jimmy Jacobs and the Necro Butcher face each other in a no disqualification match at Take No Prisoners.
Jacobs attacked his man as soon as he entered the ring, but as soon as the fight spilled out to ringside the Butcher took control as he dragged his former mentor through the fans and up through the bleachers. Try as he might Jacobs just couldn't get any offence going, and it was only when they went back to the ring and took a screwdriver to Necro's head that he was able to gain control.
From there they exchanged control, and the holy you know what moment saw Jacobs taking Necro down with a superplex from the top rope to the floor. Necro was so out of it that Jacobs had to get a few other guys to help roll him back into the ring. It didn't help him get the pin though.
The Butcher quickly recovered, and after putting Jacobs through a table with a Death Valley driver he looked to put him away with a choke slam onto a pile of chairs. Jacobs countered this with a kick south of the border before taking his man down with a DDT onto the furniture, turning it immediately into his guillotine choke. It looked like Necro was going to tap at one point, but he managed to get back to his feet and break Jacobs hold. He then quickly took him down with a sit-down powerbomb onto the chairs for the three count and the win.
March 26th, 2010
The no disqualification action continues with a veritable battle of the generations between Jerry Lynn and Kenny King at From the Ashes.
This may not have been as heated as some of the matches on this collection but it was still pretty entertaining. These two put together some great sequences from start to finish as Lynn showed once again that he was capable of having a good match with anyone.
King looked particularly good as he sought to add to the damage that he and his partner Rhett Titus has inflicted on Lynn a few months before. The only problem was that the old dog wasn't going to lay down and die, and he put up a hell of a fight.
Lynn was the first one to go through the wood when King sent him through a table that was propped up in a corner after connecting with the shotgun knees. This didn't keep Lynn down though, and after the two men jockeyed for position on the top rope Lynn tried to take his man down with a sunset flip powerbomb through a table. He succeeded in executing the move, but the only problem was that the table didn't break. He then improvised by repositioning the table so he could put King through it with a cradle piledriver for the winning pin.
ROH on HDNet Episode #80
It's on to one of my favourite feuds in all of wrestling in recent times, with Kevin Steen and Steve Corino taking on Colt Cabana and El Generico in a steel cage match.
These teams had some quite brutal matches against each other, and while some of them were better than this match it was still a worthy addition to this collection.
It began with a brawl around ringside, and when the referee eventually ushered them into the ring and chained the door shut Steen took the key from him and hid it in the leg of his tights.
It was then that the really big brawl began, and it came as no surprise that Corino was the first man to spill blood here after Cabana and Generico rammed him head first into the wire.
After a few more moments of brutality Cabana and Generico took the upper hand, and with both of their foes lying prone on the mat the masked man climbed to the top rope. But just when he was about to fly Cabana urged him to go higher to the top of the cage.
This gave Steen and Corino the chance to recover as they attacked Cabana and knocked Generico off the top of the cage, and with Steen holding the key this meant that Cabana was more or less done for as they took out weapons they had secreted in the turnbuckles, and after Generico failed in his attempts to get back into the ring Steen applied a crossface to Cabana, and when Corino stabbed him in the head with a fork at the same time it wasn't long before the official called for the bell to give the bad guys the submission win.
September 17th, 2011
It's the final match of the collection and another ladder war as Kenny King and Rhett Titus of the All Night Express take on Jay and Mark Briscoe at Death Before Dishonor IX, with the winner getting a shot at the titles.
Out of all the matches on this collection this is probably the bloodiest. It's also one of the most compelling to watch.
For well over 20 minutes these four men put their hearts and souls on the line in one of the best ladder matches I've ever seen. It had everything, a long-standing rivalry for the back story, terrific storytelling throughout, and four men willing to go that extra yard to put on an excellent encounter.
As with many of the other matches these two hit each other with anything they could get their hands on, which was mainly tables, ladders and chairs, and it got to the point where the fans complained that King was the only one who wasn't bleeding.
There were also so many oh my gawd! moments that it would take too long to list them all here, but the best of them was when Mark climbed to the top of the biggest ladder they had and put Titus through a table with a big splash.
However, the most memorable moment came when the brothers launched King through the air with their double hip toss. As soon as he hit the ladder in the corner the crowd erupted with a "you killed Kenny!" chant.
So after all that brutality and blood letting it was down to King and Jay to fight it out on top of the ladder. The two of them exchanged blows until Jay was sent crashing to the canvas. Seconds later King grabbed the contract hanging above the ring to claim the title shot and win the match.
In conclusion – so after several days viewing and several thousands words, as well as a sore left hand and elbow we've finally reached the end of this hardcore highway that ROH has built for itself.
Overall, it's a pretty good collection. It shows that the good men of Ring of Honor are more than capable of taking the brutality levels up a notch or three when the need arises. It's also a good way to see how the company developed since the early days.
So having spent too many late nights going through this collection there's just one more thing left to do, and that's to give this thing the big thumbs up. If you're an old ROH fan, or a newbie looking to explore their past then this is one of the many collections you should get you hands on.
With thanks to the powers that be for supplying a copy of this release. ROH Ring of Hardcore is available to buy online at www.rohwrestling.com.
By day I'm an unemployed retail worker, and at weekends I volunteer at a local museum, but by night I'm the author of The Two Sheds Review, Britain's longest running professional wrestling and mixed martial arts blog. Visit my site at www.twoshedsreview.vze.com. It's been online in one form or another since June 2000!